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Cultural Turns InTheory

Context directs Content/Customs

I’m currently writing about the placement of objects and the ability of the white cube to define objects as art objects.

Art is created when an object is contemplated as art.

This has led me to wondering about the removal of context. What happens to the object without the white cube?

Craig-Martins’ An Oak Tree becomes a glass of water again, people can piss in Duchamp’s Fountain and Damien Ortega is no longer the Controller of the Universe and can flog his tools.  But people wouldn’t piss in Duchamp’s Fountain though. Or if they did it would be a performance of sorts. Fountain surpasses the gallery now and can maintain its art object status. Because the white cube stretches farther than its physical attributes. It too is conceptual.

I’ll leave with a gem I’ve discovered of late. This blog is a little bit amazing.

Great Art in Ugly Rooms

Meticulous photoshopping of Pollock into a public school. Decontextualisation ensues.

 

Categories
academia Cultural Turns

Nightmares, Traps and Contemporary Art

Dreams are a weird one.

EVERY ENTITY YOU SEE IN YOUR DREAMS IS YOU

DREAMS ARE (FICTIONAL) MEMORIES – DREAMS ARE TEXTS

DREAMS ARE ARTEFACTS OF (CULTURAL) REPRESENTATION

A NIGHTMARE IS A DREAM IN THE FORM OF A TRAP

-Louise Milne

Having never really thought much about the nightmare and a possible connection to a work of art, this was new territory for me.

Milne likens the nightmare to a trap. There is evidence of what came before, the creator. And there is suggestion of a possible victim. The trap is this middle point that acknowledges both the aware and the unaware. In a dream every entity is intact you. And the hunter and prey interact.

Artworks too ensnare attention and provoke ‘self shattering’ experiences. Milne comments on the anxiety caused by placing paradoxical representations against each other. This is why a nightmare can be frightening, the familiar comfortable objects interwoven with fear and ‘monsters’. Art, and curation too, incorporate juxtapositional paradoxes into their viewing.

damian-ortega-controller-of-the-universe

Damián Ortega’s work has drawn my attention recently. His use of objects but in grand representations amuses me. In Controller of the Universe he manipulates a collection of tools into a spectral and threatening display. The title alludes to this manipulation. This speaks of mans dominance over the object, the assignation of purpose and use